Analysis Of Fernando Amorsolo 's Antipolo Fiesta Essay

In the time and world we live in today, we as Filipinos have seemingly taken the unique nature of our identity for granted. We may have embraced the characteristics that make up our one-of-a-kind selves with open arms; however, little to no acknowledgement has actually been made with regards to their existence primarily because of the fact that there are quite a number of things we have to do in the limited time we have in our everyday lives. It turns out that an exception to this scenario are artists who have publicly recognized these traits by cleverly hiding and incorporating them in their masterpieces. In this paper, I look at fellowbeing portrayed in Fernando Amorsolo’s “Antipolo Fiesta,” at religiosity represented by the Manila Cathedral, and at nationalism exhibited in Eduard Castrillo’s “People Power Monument.” Our journey in search of the Filipino identity in various artworks starts with Fernando Amorsolo’s painting entitled “Antipolo Fiesta” (See Appendix 1), which depicts a festivity happening in the rural streets infront of a church where a man and a woman were joyfully dancing in the midst of a gathering crowd. This breathtaking piece of work is undoubtedly a way to exhibit fellowbeing or shared identity (colloquially known as “kapwa”) – a concept said to be “at the core of Filipino social psychology” in accordance to statistical results showing it to be “at the heart of the structure of Filipino values” (Pe-Pua & Protacio-Marcelino, 2000). In this masterpiece…

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